6th Continent Mattia Insolera

Transcript

Datasheet of the exhibition
6th Continent
Mattia Insolera
Associazione Culturale ONTHEMOVE
DATASHEET OF THE EXHIBITION
1
6th Continent - Mattia Insolera
6th Continent
Mattia Insolera
Curated by
Arianna Rinaldo
Produced by
Associazione Culturale ONTHEMOVE
on the occasion of Cortona On The Move
International Photography Festival 2015
Print
Bottega Antonio Manta
Epson
SP Systema
Fortex
Associazione Culturale ONTHEMOVE | Località Vallone, 39/A/4 - Cortona, 52044 (AR)
6th Continent
“Quay, port, pier or deck, central square or market place, shipyard or fish shop, fountain or
lighthouse, church, monastery, or cemetery, the sea itself - they can all become open-air stages,
backdrops for all kinds of roles, trivial and fateful, all kinds of rituals, quotidian and eternal.
The centuries teem with these scenes and events. They are the past and the present of the
Mediterranean, the history of the Mediterranean theatre”.
(Predrag Matvejević, Mediterranean, a cultural landscape)
The origins of the project date back to the year 2007. Mattia Insolera sailed away from Italy with
a friend who wanted to cross the Atlantic Ocean on a sailboat. After two weeks of navigation he
realized he was more interested in the life on shore rather than the mere task of sailing. He dropped
off in the Strait of Gibraltar and there he had a first glimpse of a truly Mediterranean environment,
a world inhabited by seamen and dockers, smugglers and migrants. He decided to devote the next
years of his life to a comprehensive photographic project about Mediterranean culture. Soon after, he
moved to Barcelona to be in a place well connected to its shores. From there he was able to reach
13 Mediterranean countries, traveling on any kind of boat, from sailing to cargo, and covering 25.000
Km with his motorbike.
Nowadays most of the people know the Mediterranean for being a paradise of sea, sun and blue
sky, or a theatre of drama for the flow of immigrants towards Europe. Belonging to this area, Mattia
Insolera felt the urge to scratch the surface of this touristic cliché, and go beyond the news, to try to
capture the real essence of this space. The Mediterranean of the XXI Century has become divisive:
a barbed wired fence between the North and the South of the world. It is also the basin where the
major conflicts of the world are taking place, a dangerous passage for those who flee from misery
and war and even a cemetery for 20.000 migrants that sunk in its waters in the last 20 years.
It wasn’t always like this. In the past this inner sea was inclusive: a bridge connecting shores and
different cultures, a fertile soil for the very first civilisations. According to the Turkish writer known as
the Fisherman of Halikarnassos, it was a Sixth Continent, distinct from the arbitrary five continents
of geographers, assimilating people coming from the antipodes of the earth, turning them into
Mediterraneans. Mattia Insolera wanted to find out if something remained of that time so he focused
his camera on people who still relate to the sea as a surface for transportation, a working place, an
area of exchange; in other words, people who still experience the sea as a Sixth Continent.
2
Mattia Insolera
Born in Bologna in 1977, Mattia Insolera started his photographic career in 2003/2004 covering
the tour of Italian rock singer Vasco Rossi. From 2005 to 2009 his work was published in major
international magazines through the Grazia Neri agency.
In 2007 he settled in Barcellona where the 6th Continent project received financial backing for
2009/2010 from CoNCA (Consell Nacional de la Cultura i les Arts). In 2009 Mattia won second prize
in the Daily Life category of the World Press Photo Award plus an IPA Honorable Mention. In 2010
he won the Mare Nostrum Award, promoted by the Italian ferryboat line Grimaldi and in 2011, he
collaborated with non governmental agency Medici Senza Frontiere (Doctors Without Borders) on
their From Hell to Limbo project, documenting migratory traffic in the southern Mediterranean. In
2012 he was invited by the Grid Fotofestival of Holland to take part in their resident artist project.
In 2013 Mattia won the Fotopres prize, sponsored by the Caixa Foundation, for the work exploring
the sacrifices of young Afghan migrants in Greece, followed in 2014 by the MIA prize at the MIA
Photographic Fair. Then in 2015 he published his first book of photographs 6th Continent thanks to a
crowdfunding campaign which reached 115% of the required amount.
Mattia Insolera has received numerous prizes, including the Canon Italia Award, the Alberobello
Portfolio Award and the FNAC European Latent Talent Award. His images are part of the Nicéphore
Niépce Foundation and he is currently represented by the Luz Photo Agency.
3
Title
6th Continent
Photographer
Mattia Insolera
Number of photos
24
5
4
Type
Prints (different dimensions)
Prints (images) on cotton tissue
Prints (texts) on cotton tissue
Color (Images on paper and tissue); B/n (texts on tissue)
Print size
16
8
4
1
4
40x60 cm (Printed on CansonPhotographique Satin paper)
60x90 cm (Printed on CansonPhotographique Satin paper)
210x135 cm (Prited on cotton tissue)
Frame size
16
43x63 cm. Thickness of 2cm, Deph of 5cm
Color dark wood
63x93 cm. Thickness of 2cm, Deph of 5cm
Color dark wood
8
Linear development
Set up
20mt minimum required linear space
24
2
Hooks on the back for frames
Panel: intro, bio (text in appendix), and title, must be printed
at the expense of the hosting organization
5
Prints (images) on cotton tissue should be fitted with iron bar
and hanging with nylon or steel wires
Prints (texts) on cotton tissue should be fitted with iron bar and
hanging with nylon or steel wires
4
Shipping
2
2
boxes 99x35x69 cm
boxes 69x65x49 cm
4
PRINTS
5
Image size
cm (height x base)
Frames size
cm (height x base)
1
40x60
43x63
2
40x60
43x63
3
40x60
43x63
4
40x60
43x63
5
40x60
43x63
PRINTS
6
Image size
cm (height x base)
Frames size
cm (height x base)
6
40x60
43x63
7
40x60
43x63
8
40x60
43x63
9
40x60
43x63
10
40x60
43x63
STAMPE
7
Image size
cm (height x base)
Frames size
cm (height x base)
11
40x60
43x63
12
40x60
43x63
13
40x60
43x63
14
40x60
43x63
15
40x60
43x63
STAMPE
8
Image size
cm (height x base)
Frames size
cm (height x base)
16
40x60
43x63
17
60x90
63x93
18
60x90
63x93
19
60x90
63x93
20
60x90
63x93
PRINTS
9
Image size
cm (height x base)
Frames size
cm (height x base)
21
60x90
63x93
22
60x90
63x93
23
60x90
63x93
24
60x90
63x93
TISSUES
Image size
cm (height x base)
25
125x250
26
125x250
27
125x250
28
125x250
10
TISSUES
Image size
cm (height x base)
29
90x140
30
150x100
31
150x100
11
TISSUES
Image size
cm (height x base)
32
150x100
33
150x100
12
CAPTIONS
13
14
ENG
ITA
The Korean owned TTI Terminal. The pier is the only one of the
Mediterranean completely managed by computers. The terminal is
operated only by three people. The cranes automatically recognize
and manage the containers. Human intervention is necessary only
to supervise unloading from the ships.
Algeciras, 2010
Il Terminal TTI, di proprietà coreana, è l’unico porto nel Mediterraneo a essere
completamente gestito dai computer. A manovrare il terminal sono solo tre persone. Le gru
riconoscono e controllano automaticamente i container e l’intervento umano è necessario
solo per sovrintendere allo scarico dalle navi.
Algeciras, 2010
Ricardo Fuentes Group and Spanish Institute of Oceanography
were the first to succeed in reproducing Atlantic red tuna in captivity.
In this floating cage the first generation of bred Atlantic red tuna
grows. Cartagena, 2012

Il Gruppo Ricardo Fuentes e l'Istituto Spagnolo di Oceanografia sono stati i primi a riuscire a
far riprodurre il tonno rosso atlantico in cattività. In questa rete galleggiante sta crescendo la
prima generazione di tonno rosso atlantico in allevamento.
Cartagena, 2012
Chinese traders in a hotel on the Suez canal. Due to the increase of
China’s exports the toll revenues collected by the Egyptian
government (5 billion $ a year) weren't affected by the global
economic crisis.
Suez City, 2009
Commercianti cinesi in un albergo sul canale di Suez. A causa dell’incremento delle
esportazioni cinesi, gli introiti del governo egiziano derivanti dai pedaggi (5 miliardi di dollari
l’anno), non hanno risentito della crisi
economica mondiale.
Suez, 2009
Ruslan Seletsky, second officer of the abandoned Silver I motor
vessel, predicts the future.
Civitavecchia, 2009
Ruslan Seletsky, secondo ufficiale dell’imbarcazione abbandonata Silver I, predice il futuro.
Civitavecchia, 2009
Yavuz Okumus and Taksim Karaosman are the only remaining crew
on the Barika motor vessel, abandoned without payment in the
Istanbul anchorage area.
Istanbul, 2009
Yavuz Okumus e Taksim Karaosman sono gli unici rimasti dell’equipaggio della nave
Barika, abbandonata nell’area di ancoraggio di Istanbul.
Istanbul, 2009
A worker breaking down parts of a ship in the Nemrut Bay ship
scrapping area, the largest of the Mediterranean Sea. High
concentrations of led, mercury and other heavy metals have been
found in the surface sediments of the bay.
Aliaga, 2013
Un operaio smantella i pezzi di una nave nell’area di demolizione navi della baia di Nemrut,
la più grande del Mar Mediterraneo. Nei sedimenti superficiali della baia sono stati trovati
piombo, mercurio e altri metalli pesanti in concentrazioni elevate.
Aliaga, 2013
A rebel fighter on Tripoli street.
Misrata, 2011
Un combattente ribelle su Tripoli Street.
Misrata, 2011
In 2011, more than 200.000 fearful migrant workers flee uprised
Libya, flowing into Tunisia at Ras Jedir border station.
Ras Jedir, 2011
Nel 2011 più di 200.000 lavoratori migranti, sono scappati spaventati dalla Libia in tumulto,
e sono arrivati in Tunisia dalla stazione di confine di Ras Jedir.
Ras Jedir, 2011
Sudanese migrant praying on the dock of Lampedusa right after
disembarkation.
Lampedusa Island, 2011
Un migrante sudanese al molo di Lampedusa prega subito dopo lo sbarco.
Lampedusa, 2011
15
ENG
ITA
Mohsen Lihidheb, the postman of Zarzis, has been collecting in his
yard the belongings of hundreds of shipwrecked migrants brought in
by the current. In the last 20 years more than more than 20.000
deaths of migrants have been documented along the Mediterranean
Sea.
Zarzis, 2011
Mohsen Lihidheb, postino a Zarzis, ha raccolto nel suo giardino centinaia di oggetti portati
dalla corrente, che appartenevano a migranti naufraghi. Negli ultimi vent’anni sono state
registrate più di 20.000 vittime tra i migranti nel Mar Mediterraneo.
Zarzis, 2011
The migrant boat cemetery.
Lampedusa Island, 2011
Il cimitero delle imbarcazioni dei migranti.
Lampedusa, 2011
Mohamed, 30, from Mali, found shelter in the port of Crotone where
he’s waiting for his permit renewal.
Crotone, 2013
Mohamed, trentenne del Mali, ha trovato rifugio nel porto di Crotone, dove aspetta il rinnovo
del permesso di soggiorno.
Crotone, 2011
Father Simeonas, Bosnian Orthodox monk, trying to tune his radio
on the dock of Karoulia, a remote settlement in Mount Athos. The
peninsula, forbidden to women and only accessible by the sea, is
the stronghold of the Orthodox Church.
Mount Athos, 2013
Padre Simeonas, monaco ortodosso bosniaco, cerca di sintonizzare la radio sul molo di
Karoulia, un insediamento isolato sul Monte Athos. La penisola, il cui accesso è vietato alle
donne, è raggiungibile unicamente via mare e costituisce la roccaforte della chiesa
ortodossa.
Monte Athos, 2013
Soeur Catherine, 80, is the only inhabitant of the monastery of Notre
Dame de la Garde since 1973. She took care of the renovation and
manages the salt marshes, the last one of Lebanon, owned by the
church.
Anfeh, 2013
Soeur Catherine, 80 anni, dal 1973 è l’unica abitante del monastero di Notre Dame de la
Garde. Si è occupata del risanamento e poi del monitoraggio dell’ultima palude salmastra
del Libano, di proprietà della chiesa.
Anfeh, 2013
The procession of la Virgen del Carme, patron of the seamen.
Ceuta, 2010
La processione de la Virgen del Carme, protettrice dei marinai.
Ceuta, 2010
The granite rocks of Capotesta, on the northern tip of Sardinia, one
of the oldest geological formations of the Mediterranean area.
Sardinia, 2013
Le rocce granitiche di Capotesta, all'estremità nord della Sardegna, sono tra le formazioni
geologiche più antiche nell'area del Mediterraneo.
Sardegna, 2013
The V° century Roman Basilica.
Tipasa, 2014
La basilica romana del V° secolo a Tipasa.
Tipasa, 2014
Porto Flavia, a sea harbor connected with a mine tunnel and
protected from the winds by the rock named Pan di Zucchero.
Built in 1924, it was named after the daughter of Cesare Vecelli, the
engineer who designed it.
Masua, 2010
Porto Flavia, un porto marittimo collegato con la galleria di una miniera e protetto dal vento
da uno scoglio detto Pan di Zucchero. Costruito nel 1924, il porto prende il nome dalla figlia
di Cesare Vecelli, l’ingegnere che lo progettò.
Masua, 2010
16
ENG
ITA
Fishermen on the Suz Canal.
Ismailia, 2009
Pescatori sul Canale di Suez.
Ismailia, 2009
Students of a nearby school rehearse a dance in the shipyard of
Alexandria, where modern yachts are still entirely handmade with
wood.
Alexandria, 2009
Studentesse di una scuola nelle vicinanze provano un ballo nel cantiere navale di
Alessandria, dove i moderni yacht vengono realizzati ancora interamente a mano e in legno.
Alessandria, 2009
The fish market of Catania is considered the one with the broadest
selection of species in the Mediterranean area.
Catania, 2013
Quello di Catania è considerato il mercato del pesce con la più ampia varietà di specie
nell’area mediterranea.
Catania 2013
Rocco Pontillo after having harpooned a swordfish in his passerella
boat. These boat are built for swordfish hunting, a tradition dating
back to Magna Grecia, the period of Greek colonization of South
Italy.
Strait of Messina, 2013
Rocco Pontillo sulla sua barca "passerella" dopo aver arpionato un pesce spada. Queste
imbarcazioni sono costruite per la pesca del pesce spada, tradizione che risale ai tempi
della Magna Grecia, il periodo della colonizzazione greca del Sud Italia.
Stretto di Messina, 2013
Guler Basak fishing in Gokova Bay, which features the only
community of fisherwomen of the Mediterranean Sea.
Akyaka, 2009
Guler Basak pesca nella baia di Gokova, dove c'è l'unica comunità di pescatrici del Mar
Mediterraneo.
Akyaka, 2009
Yunus Isgender and her boyfriend Gul having dinner on their boat in
the Gokova Bay.
Akyaka, 2009
Yunus Isgender e il suo fidanzato Gul cenano sulla loro barca nella baia di Gokova.
Akyaka, 2009
ENG
INTRO
17
The unifying effect of the Mediterranean superimposes a
sameness and likeness on all the unlikeness of its inhabitants.
Therefore the Mediterranean from an ethnic point of view is
a sixth continent distinct from the arbitrary five continents of
geographers. The Mediterranean divides but never separates.
(...) Take people from the very antipodes of the earth, scatter
them along the shores of the Mediterranean and by an
indefinable magic of the air, sun and blue skies or whatever
else that magic is, they will all become Mediterranean in a
matter of a few years.
The Fisherman of Halikarnassos, The Sixth Continent
ITA
L’effetto unificante del Mediterraneo impone una
somiglianza su tutte le differenze dei suoi abitanti.
Per questo il Mediterraneo, da un punto di vista
antropologico, è un sesto continente, distinto dai 5
continenti dei geografi. Il Mediterraneo divide ma
non separa mai.
(...)
Prendi genti provenienti dagli antipodi della
terra, sparpagliale tra le rive del Mediterraneo,
e per un’indefinibile magia dell’aria, del sole, del
cielo blu, o qualsiasi cosa sia questa magia, si
trasformeranno tutti in mediterranei nel giro di
qualche anno.
Il Pescatore di Alicarnasso, The Sixth Continent
IRON
Every year, approximately sixty million people reach the
Mediterranean shores attracted by the sun, sea and “dolce
far niente”. The Mediterranean life-style seduces the visitor
as a game, not as a reality. For the first time in its history the
Mediterranean attracts its invaders without assimilating them
and risks to be culturally assimilated and converted into an
object.
Fernand Braudel, La Mediterranée. Les hommes et l’heritage
WOOD
Every year, approximately sixty million people reach the
Mediterranean shores attracted by the sun, sea and “dolce
far niente”. The Mediterranean life-style seduces the visitor
as a game, not as a reality. For the first time in its history the
Mediterranean attracts its invaders without assimilating them
and risks to be culturally assimilated and converted into an
object.
Fernand Braudel, La Mediterranée. Les hommes et l’heritage
STONE The gods had condemned Sisyphus to ceaselessly rolling a
rock to the top of a mountain, whence the stone would fall
back of its own weight. They had thought with some reason
that there is no more dreadful punishment than futile and
hopeless labor.
Albert Camus, The Myth of Sisyphus
Ogni anno circa 60 milioni di persone raggiungono
le coste del Mediterraneo attratte dal sole, il mare
e il “dolce far niente”. Lo stile di vita Mediterraneo
seduce il visitatore come un gioco, non come una
realtà. Per la prima volta nella storia il Mediterraneo
attrae i suoi invasori senza assimilarli, e rischia
esso stesso di essere assimilato e trasformato in un
oggetto.
Fernand Braudel, La Mediterranée, les hommes et
l’heritage
They are the last free men, the hunters who go out
every morning with their traps, sailing out hoping
that this would be the catch of a lifetime; those
who don’t understand how somebody can struggle
the whole year to take care of a crop which can
disappear under the hail, those who sleep on
the deck of their boat, under the clear sky of the
Aegean.
Lluís Ferrés Gurt, Secretos del Mediterráneo
Gli dei avevano condannato Sisifo a far rotolare
senza posa un macigno sino alla cima di una
montagna, dalla quale la pietra ricadeva per azione
del suo stesso peso. Essi avevano pensato, non
senza ragione, che non esiste punizione più terribile
del lavoro inutile e senza speranza.
Albert Camus, Il mito di Sisifo
CONTACTS
Antonio Carloni
[email protected]
+39 328 6438076
Sarah Carlet
[email protected]
+39 339 8437083
Simona Nandesi
[email protected]
+39 338 8109584
18